Make-Up Artists & Hair Stylists Guild Awards

8th Annual MUAHS Awards 2021

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MAKE-UP ARTISTS & HAIR STYLISTS GUILD AWARDS | 49 V A N G U A R D A W A R D RICHARD BATTLE HAIR STYLING Born in Detroit, his love of California brought Richard Battle to Oakland in the 1960s after he completed his military service. His rich artistic talents, especially as a watercolorist, led him to a graduate program at San Francisco State that expanded his costume and scenic designs even further, studying stage lighting and make-up. He taught at Mills College and in 1976, he met Michael Smuin, artistic director for the San Francisco Ballet. Richard took over the San Francico Ballet's Make-up and Wig Department and remained for more than 40 years. Long before today 's captured and broadcast performances, the San Francisco Ballet produced telecasts and live TV performances still memorable to this day. In 1976, Smuin's Romeo and Juliet became the fi rst full-length ballet and the fi rst performance by a West Coast company to be shown on the PBS television series Dance in America. In 1981, The Tempest was the fi rst ballet ever broadcast live from the War Memorial Opera House and was nominated for three Emmy Awards—one was for Richard's make-up design. Richard's gracious humility spoke volumes. "Oh, but you never really think about that when you are creating the work, do you? The work is rewarding enough, don't you think?" In 1985, Helgi Tomasson became the new artistic director and principal choreographer for the San Francisco Ballet and for the next 35 years, Richard and Helgi had a rich and mutually respectful collaborative partnership. His work is renowned through the ballet world, and he even worked with Baryshnikov and Nureyev. Richard credits that mutual respect stating, "Helgi knew that I knew what I was doing and he trusted me. I was able to resolve problems before they became issues." Richard Battle's designs for the San Francisco Ballet have infl uenced ballet companies the world over, and he is admired for his leadership, creativity, humor, care for each artist and his tremendously talented crew in the wig and make-up department. Amid the swelling overtures of the orchestra, the graceful but grueling athleticism of the dancers, his tutelage and mentorship leaves a legacy of supremely talented make-up artists and hair stylists who have gone on to create ethereal worlds of ballet and opera, to the bright lights of Broadway and touring theater companies and award winners in fi lm and television. (L-R): Richard Battle applying make-up to Ricardo Bustamante for his role in Fokine's Petrushka. Photo: Erik Tomasson; San Francisco Ballet's The Little Mermaid. Photo: Erik Tomasson; PBS Great Performances: Dance in America.

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